‘Regrets,’ we have a few
‘Regrets’ Manhattan Theatre Club, 131 W. 55th St. Through April 29 Tickets: $80; (212) 581-1212
Matt Charman has been called Britain’s “fastestrising” young playwright. But in his likable, low-impact new drama “Regrets,” the Off-broadway rookie takes it slow. Very slow. Something resembling a plot doesn’t emerge until five minutes before intermission.
By then, familiar dramatic cards have been played: A remote setting, strangers with secrets and the arrival of not one but two newcomers to stir the pot.
Conventional stuff. But Charman’s sharp ear for dialogue and keen eye for character, plus very good acting, keep you hooked.
Set in 1954, the action unfolds at a Nevada desert “divorce ranch” run by the feisty Mrs. Duke (Adriane Lenox).
The guests are all counting down the days needed to establish residency so they can split from their wives.
In the motley mix are Ben (Brian Hutchison), a warm and wise high school teacher and war vet who’s become the unofficial head of the group; Alvin (Richard Topol), a wimpy Queens pet-shop owner in denial; and Gerald (Lucas Caleb Rooney), an ex-g.i. with a hot temper and a thing for the pretty local prostitute Chrissie (Alexis Bledel).
Caleb (Ansel Elgort) arrives from Hollywood. Not even 20, he shakes up the routine and throws the play into gear when his motive for seeking a divorce comes out. It is revealed when a federal agent (Curt Bouril) comes knocking.
That’s when things take a hard lefty turn.
Carolyn Cantor directs the typically topnotch Manhattan Theatre Club production. Rachel Hauck’s rustic cabins, Ilona Somogyi’s period clothes and Ben Stanton’s moody lighting lend lots of atmosphere.
The whole cast delivers excellent performances. Elgort, a senior at Fiorello Laguardia High School, stands out with his subtle turn as the conflicted outsider. “Gilmore Girls” alum Bledel proves charming and natural in her stage debut.
In his previous plays, Charman has written about prickly issues: polygamy, politics and polar ice caps.
Here, he raises ideas about race, identity, separation and connection. In the end, he paints a portrait of a paranoid America at midcentury.
All good, but because the point remains so regretfully fuzzy around the edges, the play fails to make a deep impression. jdziemianowicz@nydailynews.com